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2021-04-05-accounts

MAYA

PRODUCTIONS LIMITED REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 05 APRIL 2021

MAYA PRODUCTIONS LIMITED

REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 05 APRIL 2021

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2020-21
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COMPANY LIMITED BY GUARANTEE Company No. 2966878 Charity No. 1043487

CONTENTS

Report of the Directors 3
Achievements and Performance 2020-21 5
Balance Sheet 18
Statement of Financial Activities 19
Notes to the Financial Statements 20

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REPORT OF THE DIRECTORS

The Directors, who are also trustees of the charity for the purposes of the Companies Act 2006, have pleasure in submitting their Report together with the financial statements for the year ended 5 April 2021. The Company is “Limited by Guarantee” - having no Share Capital.

The directors have adopted the provisions of the Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard for Smaller Entities (2015 FRSSE) applicable in the UK.

PRINCIPAL ACTIVITY

The Company is a Registered Charity and the objects for which the charity is established are: -

To advance education for the public benefit through the promotion of the arts with particular but not exclusive reference to the dramatic arts.

DIRECTORS

The Directors throughout the year were:

Anna Birch Jo Carter (Interim Chair) Basmah Fahim (Chair- resigned 2 February 2021) Rachael Garvin (appointed 2 February 2021) Steven Hoo Matilda Ibini ( resigned 4 November 2020) Rebecca Martin-Williams Anselm Onyenani (Treasurer) Christopher Preston Shuang Teng

All Directors are members of the Company and guarantee to contribute a sum not exceeding £1 to the assets of the Company in the event of it being wound up.

AUDITORS

The Directors have taken advantage of the exempti ~~ons in S.477 of the~~ Companies Act 2006 removing the need for the financial statement ~~s to have an Indepen~~ dent Examining Accountants’ Report or an audit.

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STATEMENT OF DIRECTORS’ RESPONSIBILITIES

Company Law requires the Directors to prepare financial statements for each financial year, which give a true and fair view of the state of affairs of the Company and of the profit and loss of the Company for that period. In preparing the financial statements, the Directors are required to:-

  1. Select suitable accounting policies and apply them consistently.

  2. Make judgements and estimates that are reasonable and prudent.

  3. Prepare the financial statements on a going concern basis when it is appropriate to presume that the Company will continue in business.

  4. To comply with charity legislation the Directors have a policy to maintain funds in reserve.

The Directors are responsible for keeping proper accounting records, which disclose with reasonable accuracy at any time, the financial position of the Company and to enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the Company and for taking reasonable steps for the prevention and detection of fraud and other irregularities.

The Directors’ report has been prepared in accordance with the provisions applicable to companies, subject to the small companies’ regime in Part 15 of the Companies Act 2006.

REGISTERED OFFICE

45 Landells Road London SE22 9PQ

GOVERNING DOCUMENT

Maya Productions was incorporated in September 1994 company number 2966878 and registered as a charity with charity number 1043487. The company governance instrument is its Memorandum and Articles of Association. It is a company limited by guarantee and has no share capital. The liability of each member is limited to £1 per member.

APPOINTMENT AND RETIREMENT OF TRUSTEES

The Trustees are appointed (or elected) at an Annual General Election. From time to time any member of the Charity may be appointed as a trustee provided that the maximum number of trustees (10) is not exceeded. This number was increased from 8 to 10 by the Trustees in January 2019. From time to time the Trustees may register an increase of members. Any member so appointed will retain his or her office only until the next Annual General Meeting but he or she will then be eligible for re-election. At the AGM, one third

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of the trustees will retire from office. A retiring member of the board of trustees will be eligible for re-election

The trustees to retire shall be those that have been longest in office since their last election to office. As between members of equal seniority, the members to retire shall in absence of agreement be selected from among them by lot.

OBJECTIVES AND ACTIVITIES OF THE CHARITY

The objects for which the Charity is established are: “To advance education for the public benefit through the promotion of the arts with particular but not exclusive reference to the dramatic arts.”

PUBLIC BENEFIT

The Trustees have considered the Charity Commission guidance on public benefit and consider that the activities of the charity meet its charitable objectives and provide a benefit to the public.

FINANCIAL REVIEW

This year the charity’s turnover was £52,348.

The Trustees are pleased that we raised income of £46,837 through various small grants and emergency funding from Arts Council England to undertake charitable activities and that £5,510 was through earned income.

The company remains project funded. Suzanne Gorman was still giving some time inkind, to provide general company administration, organisational development, fundraising, and networking. However, this year, we have had some additional support from volunteers helping with the administration of the organisation, giving Suzanne time to work on development and fundraising. The trustees are aware that in order for the company to continue to grow, there is the need to look beyond project funding.

Looking forward to 2021/22, despite the impact of Covid 19, we anticipate the turnover of the organisation will remain stable and hope to contribute additional funds to reserves.

FUNDERS AND INCOME

We received funds from Arts Council England, Unity ~~Theatre Trust, Sheffie~~ ld Town Trust, the Scurrah Wainwright Charity, and Fusion Fund ( ~~via Riz Maslen) an~~ d fees/earned income from National Theatre, Home Slough, Mi ~~gration Matters Fes~~ tival, Camden Peoples’ Theatre, Tonic Theatre.

RESERVES POLICY

As the company only operates on a project funded basis the Trustees aim to build up reserves, as and when possible. We are currently carrying £21,499 in reserves, of which £9,892 are unrestricted. £11,607 are restricted to Benny and the Greycats project.

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– ACHIEVEMENTS AND PERFORMANCE 2020 2021

Maya Productions makes diverse theatre that creates change: bringing together organisations and individuals who passionately want their work to enable social change and racial justice in the arts. We create opportunities for people of all ages, abilities, culture and classes to experience theatre.

Making work led by Black, Asian (African diaspora, South Asian diaspora) and ethnically diverse artists we:

Engaging with young people and communities across the UK we:

Promoting workforce diversity across the arts we:

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OVERVIEW
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2020 - 2021 saw the company refocus our operations during the Covid Pandemic, moving to delivering work online. The disproportionate impact of the pandemic on those communities often underrepresented in the arts, the killing of George Floyd, and the subsequent Black Lives Matter movements brought into sharp focus the need for Maya Productions to continue to make theatre that strives for social change and racial justice in the arts.

PLAYS

Despite postponing the planned research and development phase of Benny and the Greycats, Maya’s new musical in development, the creative team continued to work together digitally and the steering committee met regularly. Inspired by Artistic Director Suzanne Gorman’s family history, Benny and the Greycats tells the story of an Anglo-Indian family of jazz musicians who swap playing in swing bands in South India to move to the industrial city of Sheffield in the 1960s. Their journey unleashes themes of migration, work, conflicting communities, mental health, and the legacy of colonialism. This year we continued developing the book, lyrics and compositions and worked with musical director Tarek Merchant to deliver an online workshop, working with performers Natasha Lewis, Jason Patel and Dan De Cruz focusing on the songs and compositions. Supported by dramaturg Paul Sirett we ended the year with the first full-length draft of the musical, ready to be workshopped in June 2021.

Our new project Tara, exploring Irish links with the Anglo-Indian community in India, began its life online, with a series of online sessions led by Jo Egan from the Belfastbased company Macha Productions to explore the themes, undertake genealogy research, and create the concept of the piece.

PARTICIPATION

Our participation work also moved online, developing our relationship with partners Ignite Imaginations and Migration Matters to deliver Routes to ~~Roots with students~~ at Handsworth G ~~range and Hall Cro~~ ss schools and y ~~outh charity Chilype~~ p in Sheffield. E ~~xploring themes of~~ journeys, family hi ~~story and migratio~~ n, this project al ~~so gave space for y~~ oung people to c ~~reatively express~~ how they felt a ~~bout the pandemic.~~

(Routes to Roots 2019, Photograph by Nadjet Ben Maghnia)

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We continued to promote workforce diversity across the sector, and began to build on actions recommended in Suzanne Gorman’s research project Where Am I? Black, Asian and Ethnically Diverse Role Models and Leaders in the Performing Arts, and its corresponding Pocket Guide. This work included industry training workshops and in autumn 2020 we created a career development programme in response to how the industry had been affected by the pandemic, particularly in relation to freelance theatre professionals. Working in association with Stage Sight we delivered a series of coaching and mentoring sessions for industry professionals from Black Caribbean, South Asian, East Asian and mixed heritage backgrounds paired with mentors from Black, South Asian and ethnically diverse backgrounds.

ORGANISATIONAL AND COMPANY DEVELOPMENT

An Arts Council England emergency grant, supported the company to engage in some organisational development to strengthen our position as we moved through the pandemic.

Working with consultant Lizzie Vogler we revised our business plan and fundraising strategy. We also were able to support trainee administrative producer Ada Onyekwelu, in her ambition to develop a career in the arts.

MAYA AT 25

Plans for events during summer 2020 were unfortunately cancelled due to the pandemic, however, we were able to celebrate the past through revisiting Emancipation Day by Sara Clifford, a play Maya developed in 2007, with young people from Immediate Theatre.

THE YEAR IN NUMBERS:

“I think the timing of this couldn’t have been better for me. I was previously feeling deflated with everything going on, but having been given the chance to speak to industry professionals, and talk through and explore my thoughts has genuinely boosted me more than I could’ve imagined, and has helped remind me why I do this.” (2020 Coaching/Mentoring participant)

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THE YEAR IN MORE DEPTH

PLAYS:

Benny and the Greycats: in partnership with Migration Matters Festival

It’s 1964. The Anglo-Indian Connolly family of Trichinopoly, South India, are railway workers by day but by night, play in Jazz bands in Anglo-Indian railway institutions across the country. As home rule is embedded, the Anglo-Indian community begin to lose the privileges they enjoyed under British rule and the Connolly’s are lured to the Motherland. Their new home is gritty industrial Sheffield, where life does not quite live up to the dream that they were promised by the British. Protagonist Benny, pines for his life back home, older brother Marvin, desperate to fit in, is willing to give up music in order to do so, and Clarry the youngest sibling struggles with his mental health in this hostile environment. Holding the family together is Mother Mabel, who must balance working for the first time in her life, with caring for a sick husband. As the family tries to overcome their problems will music provide the key to happiness?

Originally developed at the Barbican Open Lab in July 2018, and then through a week's

residency at Sheffield Theatres in March 2019, this is a migration story inspired by Suzanne Gorman and co-composer Mike Gorman’s own family history. After playing in the Madras Jazz Group their Anglo-Indian family came to Sheffield in the 1960s. Their journey unleashes themes of migration, work, conflicting communities, mental health, and the legacy of colonialism.

A research and development phase planned for June 2020 was postponed until June 2021, however, Suzanne Gorman, Riz Maslen and Mike Gorman continued to work together online, developing the book, lyrics and music, supported by dramaturg Paul Sirett, with additional dramaturgy from Jo Egan.

We tested out six songs through an online workshop on 26 and 28 November 2020, working with musical director Tarek Merchant, and performers Natasha Lewis, Dan De Cruz, Jason Patel. This proved an invaluable process to the artistic team It showed the progress that the material had taken since the 2019 workshop.

“The most exciting thing was to have the performers performing it live. It gave a real sense of what to expect in a the ~~atre setting and I~~ am excited to see the material develop. The so ~~und world is so~~ important in the way musical theatre is driven; t ~~his process has~~ allowed us to develop our skillset in a genre that ~~we are unfamiliar~~ with. All of these songs offer strong lyrical conte ~~nt and musically~~ have matured over the last 6 months…I think there ~~is still room for~~ improvement and this is part of the ongoing proces ~~s. ”~~ (Riz Maslen,Co-composer)

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“Hearing the songs with multiple vocalists really helped with consideration of how to proceed with different vocal melodies in the songs.” (Mike Gorman, Co-composer)

The workshop team found the mix of songs and styles a strong asset of the show. Jason (actor) commenting that the contemporary jazz pop musical would be a ‘refreshing mix’ within the industry. Other team members called it ‘bold’, ‘frank’, ‘exuding passion’ and a ‘beautiful earthy story’.

“I love the unusual nature of the songs, particularly interesting harmonies. The story is so strong and I love that, having been involved previously, the music has evolved in such a positive way. The characters through song feel really clear.” (Natasha Lewis - Performer).

Following the online workshop, the creative team continued to develop the material, working towards a full-length draft of the musical to be workshopped in June 2021.

Tara: in partnership with Macha Productions;

Dramaturg Jo Egan led a series of online sessions with Suzanne Gorman, to explore themes for this new piece, planned as a one person show. This involved researching a variety of themes including Empire, colonialism and legacy, racial identity and Irish connections to India. Suzanne took a deep dive into her family ancestry, taking a DNA test and creating a family tree, in an attempt to find her Irish (we believe) ancestor - Thomas Gorman. The next stage for this process will be a week in Northern Ireland, planned for Autumn 2021.

Emancipation Day: in partnership with Immediate Theatre

We created a podcast as part of Maya 25 celebrations focusing on Emancipation Day, a play Maya Productions developed in 2007 that was inspired by the life of Londoner Lucinda Rice, a woman of duel, African American and English heritage. Suzanne Gorman interviewed playwright Sara Clifford and project lead Delmozene Morris about developing the play, and their work at Maya. It featured extracts from Emancipation Day performed by Immediate Theatre’s youth theatre.

PARTICIPATION

Routes to Roots: in partnership with Ignite Imaginations and Migration Matters Festival

Due to lockdown, reaching people was an essential aim of both Maya Productions and partner Ignite Imaginations. The aim was to use Benny and the Greycats as a stimulus for young people to make their own creative responses to the themes of family heritage, migration and journeys.

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Across 6 online sessions we successfully worked with 24 young people through two schools, Handsworth Grange and Hall Cross School, and Sheffield youth charity Chilypep. Workshops were delivered by Suzanne Gorman, Artistic Director of Maya Productions and Ignite artists Genevieve Carver and Sile Sibanda. Working with a diverse group of young people across these groups, the Routes to Roots project “thematically felt so apt at a difficult time for people.” Emma Waslin, Ignite Imaginations.

During the sessions young people and teachers engaged well, sharing their work either verbally or through the “chat” mechanisms. Young people spoke out loud and shared their writing in a setting that was completely new to the majority, if not all, of them. Teachers commented on how brilliant it was that students had the opportunity to do something different to schooling in the odd circumstances and commented how forthcoming students had been. Additionally, through follow up one to one sessions with the school students, they identified that they were using the skills and techniques that they developed in the writing workshops for their “Arts Award” Challenge. For the Chilypep group, a group who would ordinarily meet in person, it was an opportunity to engage in something beyond just a chat, to explore their identity and family heritage in a safe space.

Hall Cross Teacher marked the experience 5/5 commenting:

“I really liked this but, through no-one’s fault, except a global pandemic, it was almost undervalued - this had real scope to be a mini project and something longer term.”

We were thrilled this year to be able to offer Sile Sibande, one of our Routes to Roots young artists from 2019, the opportunity to be a facilitator this year.

“This year, I got the opportunity to be a Facilitator for the project. At the beginning, I was nervous but I realised how much fun I had last year being part of the project and I wanted to bring that same joy to others. I enjoyed going out of my comfort zone to create exercises that other people get to do, I also collaborated with other artists and art organisations on one project. This meant that I grew as an artist and facilitator. I enjoyed running workshops with a wide range of young people from different schools and seeing the response/writing that they came up with. This year I got a chance to work closely with Suzanne and find out more about her and her organisation.” (Sile Sibande, artist/facilitator)

SECTOR DEVELOPMENT

Coaching/Mentoring programme

In association with Stage Sight (who aim to encou ~~rage a stage workfo~~ rce that is more reflective of our society today, inclusive of ethnicity ~~, class and disability~~ ) we designed a programme to offer a series of free coaching and ~~mentoring sessions~~ for five industry professionals from ethnically diverse backgrounds: 2 from South Asian, 2 Black

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Caribbean and 1 of mixed heritage (East African Asian and White British) consisting of a mix of Yorkshire and London based workers.

The selected participants were: Annette Corbett, an accomplished cultural professional with experience as a producer, fundraiser, and arts manager; Inayah Thomas, a Stage Manager currently based in Leeds; Stuart Thomson , freelance Stage Manager based in Leeds for theatre and live performance; Sarah Sayeed, a writer, composer, sound designer and musical director with over 15 years’ experience producing and directing programmes of work; and Chateela Green , a freelance producer who previously worked at the Roundhouse where she ran the Resident Artist programme.

Due to Maya Productions work in highlighting ethnic diverse practitioners over the past 25 years and our wide network of industry contacts we were able to recruit industry leaders to act as mentors.

Doreen Foster the Director of Warwick Arts Centre, Keith Saha a writer and the CoArtistic Director of 20 Stories High Theatre Company based in Liverpool, Tony Gayle a renowned west end Sound Designer, Roshni Savjani who has over 20 years’ experience as a stage manager and Alison Holder a seasoned producer from the U.K’s primary black led touring theatre company Talawa. All participants were coached by Suzanne Gorman.

Additionally as part of this programme Maya’s trainee administrative producer Ada Onyekwelu received ongoing coaching/mentoring by Suzanne Gorman from June 2020 - November 2020.

The feedback from participants was extremely positive and gives assurance of the programme’s valuable need.

“I feel connected to others and realised how much I needed this space as a way to overcome fears and insecurities.”

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Online Workforce Diversity Toolkit

Following on from the success of the coaching/mentoring programme we created the concept for an Online Workforce Diversity Toolkit. This toolkit will support ethnically diverse individuals, at all career stages, to establish and maintain a sustainable career in the arts through engagement with role models, interactive career maps, coaching/mentoring and personal/career development workshops. It will also support senior leaders to develop their practice to make organisations more inclusive. The pilot programme attracted Sheffield Theatres, Immediate Theatre, Migration Matters Festival, Curve Theatre, and National Theatre as participating organisations, however we were unsuccessful in a bid to Arts Council England to support the pilot. Despite this, we will continue to work towards making this programme happen in the future.

Other Sector Development work

The Step Change Alumni Research Project for the National Theatre assessed the impact that Step Change has had on alumni’s career paths – particularly for ethnically diverse participants. During this year we had planned to publish the report, however, due to the pandemic the staff at National Theatre’s publications department were on furlough. Instead, Gemma Baxter, commissioner of the report, and now working through her own company, Support Squad, worked with us to create an executive summary of the report entitled SNAPSHOT: Pathways to Progression: Learning from Career Journeys of Step Change Alumni. This was presented to the National Theatre internally. We hope to be able to disseminate it more widely in the future.

Suzanne was commissioned to coach and mentor 3 industry professionals in April and May 2020 at HOME, Slough, supporting their needs over the first lockdown. She also continued to mentor and coach other industry professionals on request including working with Alton Brown as he prepared for his role as Head of Youth Policy and Programmes for Birmingham 2022.

Training and Facilitation .

Suzanne led Bright Lights, for Tonic Theatre’s Advance Network. The session presented key findings from Where Am I?, a research project that looked at the importance of ethnically diverse role models and leaders in relation to workforce diversity, and invited attendees to reflect on how individuals and organisations can be a role model for inclusion. With Fay Jennet of Tonic, she also piloted a new training programme, Race and Allyship. Plans have been made to develop this pilot into a full training programme, working in partnership with Tonic Theatre, and this will form part of Maya’s training offer in the future.

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ORGANISATIONAL DEVELOPMENT

We undertook an organisational development process, working with Lizzie Vogler as Organisational Development Lead. The Business Plan was reviewed and updated to take us from 2021–2026, we developed a new fundraising strategy and implemented new organisational/administrative processes. This work was supported by Ada Onyekwelu, who joined the company as a volunteer, and has since been employed on a part time basis as a Trainee Administrative Producer.

Website

Maya Productions website re-build was led by the digital producer Sharon Mitcheson and created by Pure Graphic Design.

Marketing and Social Media

Damian Reyes-Fox joined Maya Productions as a volunteer in July 2020 to help create content and boost our online presence. He

was instrumental in enabling Maya to look at using social media analytics, and guided unfollowing protocols due to the transactional supply and demand nature of social media. From April 2020 - April 2021 our followers grew by over 35% across all our social media platforms, with engagement up by 70% with our organic reach to 71.3%

The demographic of our audience on average is predominantly women aged 35 - 44 and 90% based in London for Facebook and Instagram, however it skews slightly younger on Twitter. Our top posts are when we are sharing Maya projects (such as Benny and the Greycats with 1000+ likes and reactions ) or recruitment alerts.

When Damian’s volunteering came to an end the Trainee Administrative Producer took on the social media responsibilities. Looking forward we aim to recruit a new volunteer.

Events and Networks

Disrupt 21 (online)

Maya was invited in February 2021 to be a partner at the Disrupt Festival, created in response to the pandemic. Disrupt how the performing arts has supported communities during the pandemic, encouraging radical ways of working with a planned festival for July 2021. In March, we were offered a commission to support sharing our participation practice at the festival.

Stamp Connect

The three day programme 30th March - 1st April 2021, housed at the Camden People’s Theatre, gave artists the opportunity to participate in professional development discussions and meet venues and organisations to connect and gain an understanding of how they work to support artists. Suzanne Gorman took part in a panel discussion on community/participation arts Chaired by Jo Chard – Creative Partnership and Programme Manager at Guildhall School of Music & Drama.

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PEOPLE

Benny and the Greycats - online workshop

Tarek Merchant Musical Director Riz Maslen Composer Mike Gorman Co-composer Paul Sirett Dramaturg Sam Holland Producer Natasha Lewis Actor - Benny Online Workshop Jason Patel Actor - Benny Online Workshop Dan de Cruz Actor/Musician - Benny Online Workshop Stuart Thomson Volunteer Stage Manager

Emancipation Day Podcast

Justin Marosa Podcast Producer/Editor Sara Clifford Emancipation Day playwright Delmozene Morris Emancipation Day Producer/Researcher

Coaching/Mentoring Programme

Doreen Foster Mentor Alison Holder Mentor Tony Gayle Mentor Keith Saha Mentor Roshni Javjani Mentor Routes to Roots Sile Sibanda Facilitator Gevi Carter Facilitator

Maya Office

Liz Vogler Organisational Development Lead Sharon Mitcheson Bookkeeping and finances and Digital Producer Martin Philpot Website Designer Damian Reyes-Fox Social Media Volunteer Ada Onyekwelu Trainee Administrative Producer Tara Jo Egan Dramaturg/Mentor

PARTNERS

Immediate Theatre, Ignite Imaginations, Darnall W ~~ellbeing, Guildhall Sc~~ hool of Music & Drama, Stage Sight, National Theatre, Migration M ~~atters Festival, Tonic~~ Theatre, Home Slough, Barbican.

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FUTURE PLANS

2021-2022 will see the company move towards live delivery using Covid 19 protocols, alongside continuing its digital offer when needed.. Spring 2021 will see us embark on two participation projects in partnership with Ignite Imaginations. Routes to Roots will work with students from Handsworth Grange School and Talking About My Generation with South Asian Women’s charity Roshni. Both projects will use theatre and visual arts to explore themes of cultural identity, migration and heritage.

Inspired by the themes and development process for Benny and the Greycats, these projects will take place alongside a postponed live workshop and work-in-progress performances for Benny and the Greycats, which are planned for July 2021 at Arcola Theatre, Migration Matters Festival, and online at Disrupt Festival. Participants involved in Routes to Roots and Talking About My Generation will also share their work through performance and an arts exhibition at Migration Matters Festival. Tara, will also continue to be developed, with a residency at the MAC theatre in Belfast in Autumn 2021 to develop the concept further.

Our sector development work will continue with ongoing coaching and mentoring, and the delivery of Race and Allyship training. Additionally we hope to increase our work with children, young people and communities in London. We aim to develop more local partnerships in our home borough of Southwark, through the development of a new piece of theatre and early years activities for local Latin American families. We will continue to develop our national networks, extending our reach and ability to create social change and enable racial justice in the arts through creating access to good quality theatre experiences for those traditionally under-represented in the arts.

Board development and the appointment of a new Chair will be a priority for the company.

ON BEHALF OF THE BOARD

JO CARTER

����������� ..................................................

Director/ Member of Trustees

Respective responsibilities of the Directors and the examiner .

The Directors are responsible for the preparation of the accounts. The Directors consider that an audit is not required for this year (under section 43(2) of the Charities Act 1993 (the 1993 Act)

Accounts prepared by S Mitcheson & S Gorman 45 Landells Road London SE22 9PQ August 2021

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INDEPENDENT EXAMINER'S REPORT ON THE ACCOUNTS

Independent examiner’s Report to the trustees of Maya Productions

Maya Productions Ltd ( The Company) 05 April 2021 Charity no: 1043487

I report to the trustees on my examination of the accounts of Maya Productions (“the Company”) for the year ended 05/04/202 ��

As the charity's trustees, you are responsible for the preparation of the accounts in accordance with the requirements of the Charities Act 2011 (“the Act”).

I report in respect of my examination of the Trust’s accounts carried out under section 145 of the 2011 Act and in carrying out my examination, I have followed all the applicable Directions given by the Charity Commission under section 145(5)(b) of the Act.

I have completed my examination. I confirm that no material matters have come to my attention in connection with the examination which gives me cause to believe that in, any material respect:

the accounting records were not kept in accordance with section 130 of the Charities Act; or the accounts did not accord with the accounting records; or the accounts did not comply with the applicable requirements concerning th ������������������������������� �������������������������������������������������������������������������������� ������������������������������������������������������������������������������������������� ���������������������������������������

I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached.

Signed:

Date 16/12/21

Kevin Dunn Finance Director Soho Theatre 22 Dean Street London, W1D 3NE

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MAYA PRODUCTIONS LIMITED

BALANCE SHEET

AS AT 05 APRIL 2021

Year ending
5 April

Year ending
5 April
2021
2020
Fixed Assets 5
-
-
Current Assets
Debtors 6
660
-
Cash at Bank 21,589
9,715
22,249 9,715
Current Liabilities
Accrued Expenses 7
750
-
Net current assets 21,499
9,715
TOTAL NET ASSETS 21,499 9,715
Unrestricted reserves 9,892
8,682
Restricted reserves 11,607
1,033
TOTAL FUNDS 21,499 9,715

These accounts have been prepared in accordance with the provisions applicable to companies subject to the small companies’ regime in Part 15 of the Companies Act 2006 and with the Financial Reporting Standard for Smaller Entities (2015)

For the financial year ended 05 April 20 ��� the company was entitled to exemption from audit under S.477 of the Companies Act 2006 and no members have deposited a notice under S.476 requiring an audit.

The directors acknowledge their responsibilities for ensuring that the company keeps accounting records which comply with S.386 of the Act and for preparing accounts which give a true and fair view of the state of affairs of the company as at the end of the financial year and of its result for the financial year in accordance with the requirements of Sections 394 and 395 and which otherwise comply with the requirements of the Companies Act 2006 relating to accounts, so far as applicable to the company.

JO CARTER ................................................. ) 16/12/2021 DIRECTORS ANSELM ONYENANI .................................................) APPROVED ON 16/12/2021

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MAYA PRODUCTIONS LIMITED

STATEMENT OF FINANCIAL ACTIVITIES (INCLUDING INCOME AND EXPENDITURE ACCOUNT) FOR THE YEAR ENDING � 5 APRIL 2021

Unrestrict
ed Funds		 Restrict
ed
Funds		 Total
Funds
20/21		 Total
Funds
19/20
Incoming Resources
Trading activities 3,510
2,000
5,510
-
Investments 1
-
1
-
Charitable activities - 46,837
46,837
31,614
Total Incoming Resources 3,511 48,837 52,348 31,614
Resources Expended
Raising funds -
-
-
-
Charitable activities 2,300 38,263
40,564
27,317
Other -
-
-
-
Total Resources Expended 2,300 38,263 40,564 27,317
Net Income/(Expenditure) for
the year		 1,211
10,574
11,784
4,297
Reconciliation of funds
Total funds brought forward 8,682
1,033
9,715
5,418
Total funds carried forward 9,892 11,607 21,499 9,715

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MAYA PRODUCTIONS LIMITED NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED � 5 APRIL 2021

1. ACCOUNTING POLICIES

1.1 Historical Cost Convention

1.2 Fees

Fees is the total amount receivable by the Company in the ordinary course of business. This comprised fees from the National Theatre for the Step Change Alumni Research Project, Migration Matters Festival for Routes to Roots, Tonic Theatre, Camden Peoples Theatre and Home Slough for Training, Coaching and other Sector Development activities, and miscellaneous income.

1.3 Depreciation

Depreciation is calculated to write down the cost of the following assets over their expected useful lives: Rate Method Office Equipment 25% Reducing Balance

1.4 Cash Flow Statement

The Company has taken advantage of the exemption in FRSSE from producing a Cash Flow statement on the grounds that it is a small company.

2. FUNDS

Unrestricted income funds comprise those funds generated through the Company’s various activities which the Directors are free to use in accordance with the Company’s objects.

Restricted income funds are funds which have been given for particular purposes and projects. Restricted Funds in 2020/21 came from Arts Council England for Organisational Development and Coaching/Mentoring Project, Sheffield Town Trust, Scurrah Wainwright and Unity Theatre Trust for Routes to Roots, Talking About My Generation, and Benny and the Greycats Project. Income was carried forward from Teale Charitable Trust, Arts Council England and Unity Trust for Benny and the Greycats, Routes to Roots and Talking About My Generation projects.

3. DIRECTORS REMUNERATION

No Directors’ Remuneration was paid during the year.

4. TAXATION

The Company is a Registered Charity and is not liable to Corporation Tax.

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5. TANGIBLE FIXED ASSETS:

All fixed assets have been fully depreciated.

6. DEBTORS

None

7. CREDITORS

None

  1. POST BALANCE SHEET EVENTS & CONTINGENT LIABILITIES The Directors are not aware of any material items.

9. RECONCILIATION OF FUNDS

Unrestricted funds
Restricted funds		 06 April
2020
Income
Expenditu
re
Transfers 05 April
2021
8,682
3,511
2,300
-
9,893
1,033
48,837
38,263
-
11,607
9,714
52,348
40,564
-
21,499
Unrestricted funds
Restricted funds		 Cash
Total net
assets
2021
Total net
assets
2020
9,893
9,893
8,682
11,607
11,607
1,022
21,499
21,499
9,714

22

FOR DIRECTORS USE ONLY

MAYA PRODUCTIONS LIMITED

INCOME AND EXPENDITURE ACCOUNT YEAR ENDED 05 APRIL 2021

Unrestrict
ed		 Restrict
ed		 Total
20/21		 Total
19/20
Box Office & Fees 3,510
2,000
5,510
-
Funds Raised -
46,837
46,837
31,614
Bank Interest Received 1
-
1
-
3,511 48,837 52,348 31,614
LESS:
Artistic Staff & Freelancers -
20,280
20,280
23,504
Volunteers & Other Trainees -
500
500
-
Production costs/materials -
648
648
65
Technical Costs -
14
14
-
Transport / Running Costs /
Travel/Accom		 -
-
-
404
Marketing, Press, Website,
Media		 -
1,800
1,800
300
Printing / Photocopying costs -
-
-
7
Evaluation & Documentation -
-
-
775
Insurance/licences -
-
-
365
Sundries -
-
-
80
Touring Costs -
-
-
-
Young Peoples Expenses -
-
-
-
Project Admin -
-
-
16
Organisational Development -
15,021
15,021
-
Training -
-
-
261
Overheads 2,300
-
2,300
1,539
2,300
38,263		 40,564
27,317
Surplus (deficit) for the year 11,784 4,297